Tanith Gould's work often refers to anthropological themes. She has a keen interest in transitional phases, from death, to the menopause, from gender identity to the grieving process. Tanith works primarily in paint but has recently began to explore the possibility of film.
"WE ARE SURROUNDED BY EMPTINESS, BUT IT IS AN EMPTINESS FILLED WITH SIGNS."
- Henri Lefebvre
- Henri Lefebvre
X X V I I I Y E A R S
( T H O U A R T N E A R , F O L L O W I N G H I M )
“Objects retain something of the eyes which have looked at them… a thing which we have looked at in the past brings back to us, if we see it again, not only the eyes with which we looked at it but all the images with which at the time through those eyes filled.” – Marcel Proust
It would be wrong to say that my work is about memory, because it is not. I have no memory of my Grandfather at all. The work isn't about memory, but about the lack of it; the absence of one another in our lives. I explore his character through the memory of a third person - but I do not know him and he does not know me. The work is disconnected but searching.
Through the medium of film, I mix old family recordings with personal recollections. I explore the life and character of the Grandfather I never met and scrutinise my own detached bereavement. The work is drenched with religious connotations which illustrates his personal connection with his faith.
I mix the haunting sound of his voice with visual metaphors involving his dressing gown to illustrate a universal feeling of loss through the human attachment to music and objects.
I explore themes of absence and presence using the natural elements. I return to a place of great personal importance and use the wind as a suggestion of breath. The barren and spacious landscape around the gown signifies a reflective space and the passing of time.
I have been conscious of steering away from cliché and over-sentimentality. I have been mindful of stepping back from the work in order to allow the songs and imagery to speak for themselves. The work has a repetition to it; the reoccurrence of the verses echoes in the movement of the dressing gown and provides the viewer with a sense of familiarity and understanding.
( T H O U A R T N E A R , F O L L O W I N G H I M )
“Objects retain something of the eyes which have looked at them… a thing which we have looked at in the past brings back to us, if we see it again, not only the eyes with which we looked at it but all the images with which at the time through those eyes filled.” – Marcel Proust
It would be wrong to say that my work is about memory, because it is not. I have no memory of my Grandfather at all. The work isn't about memory, but about the lack of it; the absence of one another in our lives. I explore his character through the memory of a third person - but I do not know him and he does not know me. The work is disconnected but searching.
Through the medium of film, I mix old family recordings with personal recollections. I explore the life and character of the Grandfather I never met and scrutinise my own detached bereavement. The work is drenched with religious connotations which illustrates his personal connection with his faith.
I mix the haunting sound of his voice with visual metaphors involving his dressing gown to illustrate a universal feeling of loss through the human attachment to music and objects.
I explore themes of absence and presence using the natural elements. I return to a place of great personal importance and use the wind as a suggestion of breath. The barren and spacious landscape around the gown signifies a reflective space and the passing of time.
I have been conscious of steering away from cliché and over-sentimentality. I have been mindful of stepping back from the work in order to allow the songs and imagery to speak for themselves. The work has a repetition to it; the reoccurrence of the verses echoes in the movement of the dressing gown and provides the viewer with a sense of familiarity and understanding.
Film Work
'XXVIII Years' as it would appear in an installation.
"We had always been told that at any point in time, all the Christian people would suddenly be taken - if I didn't hear my mother singing, I would think that she'd suddenly disappeared and left me." - K.W
Untitled work.
This film depicts some footage of my grandmother's wedding ring on a gold chain alongside an old recording of my Grandfather who anthropomorphises and feminises a Bechstein piano in the most beautiful and poetic way before playing it. As music (especially hymns and songs of praise) was a large part of my Grandparent's relationship, the film discusses their marriage and their connection to the piano and their religion.
"The voice of our centenarian Bechstein. Her ivory keys now comprise part of a modern electronic organ. Her cabinet resides in the home of Mr and Mrs Hawker." - Ray Wyatt.
This film depicts some footage of my grandmother's wedding ring on a gold chain alongside an old recording of my Grandfather who anthropomorphises and feminises a Bechstein piano in the most beautiful and poetic way before playing it. As music (especially hymns and songs of praise) was a large part of my Grandparent's relationship, the film discusses their marriage and their connection to the piano and their religion.
"The voice of our centenarian Bechstein. Her ivory keys now comprise part of a modern electronic organ. Her cabinet resides in the home of Mr and Mrs Hawker." - Ray Wyatt.
Collaboration with Katy Broad
This collaborative work consists of a spoken word poem written by Katy Broad and the visual response by Tanith Gould. The work is about transient phases and nostalgia. It is corporal and indulgent.
The work aims to touch on a universal feeling of longing and melancholy
The work aims to touch on a universal feeling of longing and melancholy
XXVIII Years (Thou Art Near)
"Through the medium of film, I mix old family recordings with personal recollections. I explore the life and character of the Grandfather I never met and scrutinise my own detached bereavement. The work is drenched with religious connotations which illustrates his personal connection with his faith.
I mix the haunting sound of his voice with visual metaphors involving his dressing gown to illustrate a universal feeling of loss through the human attachment to music and objects.
I explore themes of absence and presence using the natural elements. I return to a place of great personal importance and use the wind as a suggestion of breath. The barren and spacious landscape around the gown signifies a reflective space and the passing of time."
I mix the haunting sound of his voice with visual metaphors involving his dressing gown to illustrate a universal feeling of loss through the human attachment to music and objects.
I explore themes of absence and presence using the natural elements. I return to a place of great personal importance and use the wind as a suggestion of breath. The barren and spacious landscape around the gown signifies a reflective space and the passing of time."
Following Him, from the series, XXVIII years (Thou Art Near)
A series of stills from a recent test shoot on Dartmoor.
A still from an upcoming film named, Thou Art Near.
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Line Drawings
Bodies in Transition
Hand painted dress ft model and fellow Belmonter: Jess Doherty.
A selection of quick line drawings looking at the figure during transitional phases (menopause, pregnancy and transitioning trans gender bodies).
KONENKI
In recent months, Tanith Gould's work has focused on the lives of a few individuals during the transitional phase of life from Mother, to Maga, to Crone. Through the act of interviewing, Tanith seeks to give these women a platform to voice their own found wisdom and aims to break down taboos and to create a dialogue on the subject.
'Witches Dancing' (taken from a series of one minute life drawings)
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Stills from two different interviews (Marge and Tina).
